INTERVIEW Šejla Kamerić: "The Firstborn" is a story about the strength and courage of a woman

The emancipation of society can only be achieved when the value of a child ceases to depend on gender.

This is what the top artist from Bosnia and Herzegovina says in an interview with Vijesti Sheila Kamerić, whose exhibition "Prvorođena" (Firstborn) is open until November 10 at the Museum of Contemporary Art of Montenegro (MSUCG) - Petrović Castle and Perjaničko dom in Kruševac in Podgorica.

Šejla Kamerić's art is a kind of struggle, her creativity is her need, thought and voice that she shares with her ancestors and descendants, while each work is a tool for peace, for equality, for the future and a weapon against retrograde forms of patriarchy, war, violence and trauma. Her works are like a platform for expressing, not only personal, but also collective experiences, problems and aspirations, while at the same time, through them, she calls for a re-examination of the normative constructions that shape our lives. Šejla Kamerić is an art activist whose engagement inspires and encourages reflection, and all of this is reflected in the grandiose exhibition "Firstborn" in Podgorica, where she worked with the curator MSUCG Milicom (Radulović) Bezmarević.

As part of the exhibition, Šejla Kamerić's monograph, "Majka je kučka" (Mother is a bitch), published by the prestigious German company "Distanz", was promoted with the support of MSUCG as one of the partners in the publication. Through a layered narrative, symbols, self-portraits and spatial installations, Kamerić not only reflects his artistic research, but challenges the audience to reconsider entrenched social patterns and gender stereotypes, all within the framework of an exhibition that carries a strong artistic, activist, feminist, but also political voice. which definitely already has a far-reaching echo.

The world-famous and recognized artist who presented herself to the Montenegrin audience again after 20 years speaks for Vijesti about the current exhibition, her own creativity and the motives from which the works are created, but also about selective abortion, wars, artificial intelligence, support for young authors.

The exhibition "Firstborn" includes selected works from your previous work, as well as two new ones, made specifically for the presentation in Podgorica. What kind of story does "The Firstborn" tell us, whether on a local or global level?

The exhibition is designed in such a way that it speaks in a very intimate way about topics that are not at all easy, but which must be dealt with. These are universal themes and touch us all. "First Born" explores the past and present and dealing with personal and collective traumas. Questioning identities, especially those imposed by society through gender divisions and the oppression of women, was crucial in the selection of works. The curator of the exhibition, Milica Bezmarević, and I wanted to show two lines of my artistic practice - works with textiles, and photo series in which I use my own body.

While we were preparing the exhibition, we talked about topics that preoccupy us and are deeply rooted in our society, as well as the insecurities we face every day. It was important for us to create a safe space in which everything that shapes a woman's life can be openly discussed with this exhibition. Through a layered narrative, symbols and spatial installations, we tried to offer a reflection on how our origin, culture and social challenges shape us.

At the local level, the exhibition deals with specific aspects of Balkan culture and history, exploring the complexity of a common heritage that brings with it many challenges. On a global scale, she speaks to the universal themes of survival, resistance and transformation. "Firstborn" is a story about the strength and courage of a woman and a call to reconsider one's own relationship to gender identity and social norms.

Powerful works with titles that speak as much as the works themselves - "Oh Mother, Oh Father" (Oh Mother, Oh Father) and "My Mother calls me SON not SUN" - correspond to the Montenegrin patriarchal context, and remain the property of MSUCG. Both works remind of the neglect and degradation of the female child and woman. How did these works come about, what was your motive or impulse?

In performance, they are two completely different works, but both were born from reflection on the burden we carry silently and painfully. Both show the hidden reality of women's life, pointing to the paradox in the perception of the weakness of the female sex. The motive or urge to create new works always comes from within, from what I feel and what I see around me.

A complete concept that investigates the issue of gender stereotypes and identity not only refers to the position of women in society, but also to the situation that has been present in Montenegro for years and even decades, namely selective abortions. Montenegro leads the way in Europe in terms of this problem. How do you comment on this phenomenon, how to fight against it and in what way to emancipate society?

During the preparation of the exhibition, Milica drew my attention to the frightening trend in which Montenegro is leading, which is selective abortion, that is, gender-selective feticide, which is already causing a serious gender imbalance with long-term demographic consequences. It is a phenomenon that indicates deep-rooted misogyny in society. In fact, it is a terrible paradox - on the one hand, a woman's right to autonomy over her own body must be respected, but on the other hand, that right is abused under the pressure of patriarchal norms that favor the birth of sons.

Women are given the right to disenfranchise and dehumanize themselves. In this way, the tradition of abuse and devaluing of women continues. A woman's body is not considered hers, but a means, a tool for the transfer of name and lineage. What is even more worrying is that this negative trend continues. Combating this problem requires clear policies that promote equality. The biggest changes can come through education that deconstructs gender stereotypes, strengthens women's rights and promotes equality in all spheres of life. The emancipation of society can only be achieved when the value of the child ceases to depend on gender. Art can contribute by pointing out social problems and providing space for critical thinking and dialogue.

The name "First-born" associates me with the name of the earlier campaign against selective abortions, "Unwanted", even though they are different concepts on all grounds. What does the very title of the exhibition mean to you and how does it reflect your artistic research, but also the status of women in the Balkans? I dare to say that one of the answers to this question may be the work "We come with a bow", which carries specific symbolism.

The connection between these two, seemingly completely different concepts, "Firstborn" and "Unwanted", is clearly reflected in our exhibition. Additionally, the title "Firstborn" opens up space for different interpretations and gives hope, birth, a new beginning, possibilities and dreams, seeing the world from a new angle. The title connects all the works in the exhibition and also reflects my artistic expression. The art I create is intimate but also very political. I deal with issues that are personal, that directly concern me, but also phenomena in society that I want to address, comment on and understand.

The position of women in the Balkans has its own specificity, because it was formed through a combination of different cultures and influences that have been reflected in this region throughout history. That legacy carries the burden of traditional norms, but also the possibility of emancipation through new perspectives. The work "We Come with a Bow" can additionally symbolize that balance between submission and resistance - society gives us identities that we carry like "gifts", but art becomes a space where we can unwrap, reexamine and redefine that gift. The "firstborn" is a symbol of a woman taking her rightful place, bringing new value to traditional patterns and opening up space for equality and self-determination.

The setting also includes crocheted works, nets, from the "Hooked" cycle. It is known that it is a skill that we associate with the time of our mothers, grandmothers and distant ancestors, which at the same time opens up topics of femininity, creation, free time, but also the traditions and practices of patriarchy that are passed down from generation to generation. What kind of webs do you actually drag visitors into and how much is it a metaphorical representation of patriarchy that survives like the strongest cobweb, partially "thanks" to women's contribution?

The spatial installation "Hooked" is woven from networks that are both physical and symbolic. With each new installation, I explore the way in which these works function in relation to the audience and the space in which they are placed. The central part of this cycle consists of oversized, crocheted milieus that I have been creating since 2011. Milieu, as a form of female handwork, arose from the need for creative expression, but also as a form of subtle resistance.

Traditionally, women found an outlet for their creativity in societies that held them back through crocheting, weaving and embroidery. Their desire to decorate was often underestimated, just like themselves. In societies that denied women the right to education, art or public activity, their creativity had to have a practical purpose - milieu and similar decorations became a socially accepted way of expression. Handicrafts, although an expression of creativity, can also symbolically represent limitations.

The question arises: what does it mean when women use their free time to create structures that can hold them back? Tradition can be a trap, but also a means of resistance. "Hooked" represents a moment of awareness - the network can be both an obstacle and a path to freedom. The key is in recognizing it and deciding how to redefine it.

Your work is imbued with the themes of memory, struggle, resistance... How much can be said and learned about these concepts through art, and what is the state of the region today in terms of the "culture of memory" and the struggle for the common good?

Art is a struggle for freedom, a corrective to society, a testimony; through it we remember and remind ourselves. In a time in which crimes are glorified, aggression, force and greed are praised, in which everyone wants to be heard, so they shout without listening to others, art writes, plays, sings, paints, weaves... It is still water. Art teaches us to respect emotions, to understand how much we don't know and to listen.

As an artist who, through her work, also conveys memories of traumatic historical events related to the war in Bosnia, how do you view the current socio-political situation in the countries of the former Yugoslavia, as well as the wars that are being fought on a global level? Where is the man in all this?

The wars of the nineties in the former Yugoslavia were really an introduction to what is happening in the world today. The news is terrifying, and the fact that we are getting more and more used to this "new normal" only deepens the feeling of horror. Although I do not see rapid changes for the better, I am sure that they will come and that it can be better. I refuse to be pessimistic. I believe that every step is important, that we can all contribute.

Nature conservation is surely what we all need to focus on. Without it, there is no future for us on the planet. At the local level, we can do a lot - protect rivers and forests, it's a great asset that we have and must preserve. We must prevent mining, fight for the preservation of fertile land, water and clean air. We should strive for a slower and healthier life.

Empathy, it is emphasized, is central in your works. In the daily rhythm of life, does modern man lose his feeling for others and how important is art in that field, as a kind of field of building bridges between individual (but also collective) experiences and patterns of behavior?

Empathy develops in a part of our brain through the connections that are made as we learn about ourselves and others. It is the ability to understand and share the feelings of others, and it is built and nurtured. We live in a culture of superficiality. Speed ​​and lack of physical and emotional connections make (us) dull and stupid. It seems to me that we are losing our sense of ourselves, we have disconnected from nature, and social ties are also being lost. The polarization of society, which is so obvious, is precisely an example of a lack of empathy. I have already talked about art as a safe space; art is often an escape from reality, but also a refuge. We need a break from harsh reality. I believe that this shift through culture is not only useful, but also necessary for our survival.

You worked for a long time with the curator Milica Bezmarević on the preparation of the exhibition "The Firstborn". How would you describe the complete process and does the contemporary scene "suffer" for time or does it demand fast production (which may lead to hyperproduction)? In addition, how important are personal relationships in the professional sphere to you in the context of cooperation?

Milica's invitation to exhibit in Podgorica came during the pandemic. Although we did not know each other before, after the first conversation it became clear that we share a similar sensibility. The preparation of the exhibition took a long time, because the pandemic and changes in the Museum slowed down the process. There were times when we weren't sure if the exhibition would even come to fruition, but we continued to talk and work. In the end, in addition to the exhibition, the book "Mother is a bitch" was published, in which a part of our conversations was published. I am grateful for the time we had because it allowed us to put everything together the way we wanted. I enjoyed working with Milica and our time together in Podgorica. The employees of MSUCG provided us with full support, and their professionalism and dedication to work really impressed me.

For me, the pandemic, i.e. the time I somehow gained during it, was a big turning point. Until then, I had not often exhibited in the region, but I wanted to connect with the area I came from, to "come back". After many years, I found myself in Sarajevo again and I realized that I feel good acting from that point. To not feel trapped but connected to the region I know. This is how new relationships began to form, both business and friendly. I consider the return of cultural capital essential, and cooperation in the region is necessary for that. Meeting new, young people with whom I share language, culture and history is important to me.

I am happy that I had the opportunity to exhibit in Montenegro and I am sure that I will return soon.

The policy of hatred and glorification of criminals continues

It is impossible, but also unfair, to bypass the work "Bosnian girl"... How do you perceive it today, given that it is recognized worldwide?

It is a work about prejudices, which are all around us and in us. Unfortunately, it is a topic that remains current. Bosnian Girl talks about the complexity of war, about the female body, the sacrifices and roles we take on, but also about responsibility. I am happy that I did this work when I was very young, more than twenty years ago, and that it has its own path that I only support, but I don't suffer from it or live in its shadow.

I am sad that, thirty years after the genocide in Bosnia and Herzegovina, the policy of hatred and glorification of criminals continues. I am worried that new wars are raging, genocides are being carried out and that people are rushing to destruction.

There is no surrender in the fight for peace

At the Biennale of Art in Venice, and at the invitation of the city, you installed the sculpture "Cease", a white flag stopped in motion, as a kind of invitation to think about the moment and the life we ​​live. Has the white flag perhaps changed its symbolism somewhere, so that in some situations it is an example of victory instead of surrender?

Peace is the greatest victory, and CEASE is a work that talks about exactly that. He promotes peace, understanding, tolerance... There is no surrender in the fight for peace - surrender would mean new conflict, war, aggression. I invite your readers to read Svetlana Slapšak and Gala Kilma's excellent articles on this topic, which can be found at www.cease2024.com.

AI is an instrument that will surely stay with us, both as a weapon and a tool

You are recognized for your multidisciplinary approach to art. What determines the choice of medium you use to express yourself and whether you find one particularly easy or challenging compared to others? Also, how do you see the role of artificial intelligence (AI) in art, either as a creator or to be used as an instrument?

The choice of media is a dialogue between subject, concept and material. It arises only from practical needs to convey an idea; it is also part of a deliberate process in which I sometimes completely rely on intuition. Some topics are almost naturally dictated by certain media, while others open up space for experimentation and questioning of boundaries. I find it interesting how each medium carries its own specific discourse and aesthetic language. I like to explore, working with different materials and techniques is not only a means, but also a process of transformation. I'm curious and using the approaches I actually keep my artistic practice dynamic. Every new project is a permanent research for me.

I'm interested in that learning process - the experiment in which the medium sometimes leads me. This is exactly how AI enables artists to transcend the boundaries of traditional media. It's hard to imagine everything that happens, AI is an instrument that will surely stay with us as a weapon and a tool. But art is not just a product, nor a product of algorithmic functionality, but an expression of human intuition, emotion and experience. It is important that we are aware of technology - that we use it so that it enriches our practice, not as a substitute for the human impulse to create. The key question is not whether AI will take over the artistic process, but how we position ourselves towards that possibility and keep art as part of the dialogue about the human experience.

One should have an ear for supporting young artists

You are on the committee that decided on the grant of the Miloš Karadaglić Foundation scholarship... How much support is available to young artists today, and is the climate for young artists more favorable than before, in your opinion?

Technological progress, exchange of information and presence on social networks significantly contribute to the education, work and promotion of young artists. Thanks to this, there is more interest in their work, as well as many more platforms to exhibit and connect with audiences than was previously the case. The situation has certainly improved in this regard. However, challenges still exist - among them is the need for more stable and long-term financial support, as well as greater opportunities for networking and professional development.

Young artists in our region often do not have the understanding of the environment or the professional mentoring they need. This is precisely why it was a great honor for me to participate in the work of the Miloš Karadaglić Foundation. It was wonderful to see the enthusiasm of all those young, talented artists who applied this year. Miloš is an exceptional artist and simply a wonderful person. The help his foundation provides to young artists and their projects goes beyond financial support - it's about a deep understanding of what artists really need. I can freely say that in order to support young artists who are at the beginning of their career, you need to listen, and Miloš and his foundation really do.